A Step into the Past
I do not write this second review in order to pose a totally opposite view to spcnet's, but just want to present a little different point of view. I do not disagree with the first review in many important points. And thus, I will skip some point that already settled in the first one, including the synopses which I cannot do better.
These days, I am normally a reader and a moviegoer. I must confess that I have not watched TV series of any kind with much concentration for a long time. The only reason "A Step into the Past" becomes interesting to me is because it is an adaptation of a Huang Yi novel which I quite like; and I will look at the series in comparison with that novel.
While Gu Long dared to experiment, Wen Ruian loves the literary touch; Huang Yi is undeniably a plotmaster. His plots are so complex that they tend to fall into chaos when retold (so I will not provide the novel synopses). Anyone who wants to do that must have at least half of his ability. But in this case, they do not.
As the novel and the television series are totally different media, each should have its own way to tell the same story. However, the good adaptation should keep the structure and the main idea of the original. In the first 20 episodes, the series can brilliantly maintain that duty. The plot, though simplified to some degree, still leads the hero Xiang Shaolong untiringly through his fate: sent to the Warring States Era, struggles for survival, learn sword skill, find girls, rescue Zhu Ji and Ying Zheng. Even the so-called football match is a very clever addition to show Xiang's ability in planning and leadership. Unfortunately, the plot just leaves that ability of his there without further mention or development.
However, after the 20th episode, after the return to Qin State, everything just slows down; both the plot and the characters just lost, and do not know which way to go. So the story just dragged down the second half with nothing much to tell except the clone of normal Qin Shi Huang series plus half a dozen typical love-story subplots. Even Xiang Shoalong seems sillier (which sounds incredible, since he is silly much enough in the first half!). He does nothing except go out and tell literally everybody he meets that he came from the future and make everyone help him come back to his time. And it is weird that they all do believe.
It is not the disadvantage of the series to suspend the possibility of coming back if that point is well developed and cleverly weaved into all the other elements. But here it diverts the series from the main event: that of the struggle and survival of Xiang and Ying Zheng. Xiang, who is the boy's teacher, does not teach or do much for him. He even forsakes him to save the girl when he needs him most. So it is not unlikely for Ying Zheng to turn against him at the end. 'Xiang Shaolong, serve you right!'
The series picks up a bit in the 3 or 4 episodes before the end, but that seems too late: too many things to tell with too little time.
One thing that makes the plots of Huang's novels complex is the maddening load of characters. It is very clever of the series to get rid of many minor characters, some by simply wiping them out, some by combining them. Besides making the storyline simpler, this strategy pushes the story forward faster.
The most effective combination of all is of Zhao Ya and Zhao Ni who is the mother of Zhao Pan in the novel. The character of Zhao Ya is more colourful and it increases the dramatic effect to the series as her boy witnesses her decision to sacrifice in a dilemma of virtue, and realizes his mother's dignity at last. However, this point is totally destroyed in the climax of the series. Confronted with his mother's tomb painting, which is the main reason he decides not to hunt Xiang down in the novel, the series' Zhao Pan/Ying Zheng seems oblivious to all the remembrances of his mother that once made him grow up. Moreover, his mother's tomb makes him conscious of the "Zhao Pan"ness he still possess, and then be able to wipe it out forever. Without this point, this final development is harsh, making this character less human and more symbolic.
Another important character combination is that of Ji Yanran and Qin Qing. This one is good for the plot, but not for the theme. Like every thing in the series, this character seems perfect in the first half: so smart, so full of determination. But after she falls in love, she just falls. Qin Qing became a typical character in typical series: a sweet girl that sacrifices everything for her beau, but never knows how to do it right. Ji Yanran of the novel is one of the most marvelous girls in martial arts novel history. Beside angelically pretty and devilishly clever, her sword skill surpasses even Xiang. She fights alongside him and is the brain behind some of his plans. This is how Huang Yi says 'Girl Is Great' in the novel that is full of pornography. Whereas, the series' message is 'girl is girl'.
Louis Gu Tianle is definitely the best choice of Xiang Shaolong, considering the character in the book. But this character in the script is so weak that even his fine face and figure (plus personal charm, etc.) cannot save the day. Yes! Seeing him is a feast of the eyes, but not the mind, alas. His character is like a misplaced cartoon character. In fact, he looked like Takashi Sorimachi as the Great Teacher Onizuka minus the madness, especially when he makes the V sign. (Well�okay, for all the girls out there, your Mr. Gu is much more good looking than both MY Sorimachi and the GTO.) This is one of the main weak points of the series.
The script weakens this daredevil into a silly boy that doesn't know what to do with himself. The novel's Xiang Shaolong is a strong character who is full of resolution and very cunning; he thinks and fights and is the one who pushes the story forward. But in the series he just drifts along the tide. Almost every thing he does is not by his decision, especially two main events that are the turning points of the story: the elopement of the Zhao princess and the replacement of Ying Zheng. He steals the princess because she wants, not because he wants. The Ying Zheng incident is more ridiculous. It just springs out of misunderstanding, a pure chance. And this is THE point of the whole story!
The best performance comes from Raymond Lin Feng as Zhao Pan/Ying Zheng. Even this is a character development rather than a real two-character role, but he just "is" two "persons". Even his look is changed. When he is Zhao Pan, he looks just dull and unpleasant to look at. I was so astonished, and said to myself, "how can they put this man as Qin Shi Huang, he looks just like a farmer." (In fact, even as Zhao Pan, he still looks too much like a farmer. Zhao Pan is a young lord, nephew of a Da Wang anyway.) Lin is normally a fine looking boy; I don't know whether it is the hairdo or the tan that does him wrong here. But when he is Ying Zheng, he just shines. We can see all that subtle transformation from troubled child to spoiled crown prince to determined young king and to the ruthless Emperor at last. He is the only thing that is bearable in that slow and boring second half. I never think I would find a performance of this quality from a young Hong Kong star today. Applause please!!!
To make this adaptation is not a fault, just a misdecision. They choose the plot so enormous and complex that they cannot control. If you ask me, I would say call Spielberg!
If the series end at the first 20 episodes, I might give it up to 4 stars. But now, I suggest reading the book, or even the comic. Or if you still crazy about time-travelling, go to video outlet and rent the "Back to the Future" trilogy or "Somewhere in Time". If you love to see the story of Qin Shi Huang, go look for Chen Kaige's The Emperor and the Assassin (even with Ying Zheng looking 20 years older than his mother, this one is still terrific).
